Above: Xandra Ibarra's, A View from outside the Cube, presented by HMD's 2016 Bridge Project, Photo Margo Moritz.
Bridge Project Highlight Reel
A conversation about legacy, improvisation, and Trisha Brown between between Judith Sanchez Ruiz (Berlin) and Sam Wentz (L.A.), both former dancers with the Trisha Brown Dance Company, moderated by curator Hope Mohr. Public dialogue begins at minute 58.
Part of Bridge Project 2020: Power Shift. A conversation with Jaime Cortez, Liz Lerman, Paloma McGregor, and Michael Orange on aesthetic equity and aesthetic bias in the arts. Moderated by choreographer and HMD Director of Art in Community Cherie Hill.
The Bridge Project presents "Are You For Sale?" a discussion about philanthropy, art making, and ethics between Edgar Villanueva and Miguel Gutierrez.
Bridge Project and SFMOMA’s Open Space co-present, Inherited Bodies (2019)
Community Engagement Residency 2018, Video footage from the September 20 Dancing Around Race public gathering
Bridge Project 2018: Post Show Discussion
2016 Bridge Project: Public Talk by Diane Madden
Community salon portion of Reorganizing Ourselves, presented by Hope Mohr Dance's 2015 Bridge Project: Rewriting Dance. Reorganizing Ourselves consisted of performative lectures by choreographer Deborah Hay and philosopher Alva Noë discussing perception, consciousness, and the links between art and science. The program concluded with this salon-style discussion with audience members, facilitated by dance curator Michèle Steinwald.
This footage excerpts the community salon portion of "Reorganizing Ourselves," presented by Hope Mohr Dance's 2015 Bridge Project: Rewriting Dance. "Reorganizing Ourselves" consisted of performative lectures by choreographer Deborah Hay and philosopher Alva Noë discussing perception, consciousness, and the links between art and science.
Bridge Project 2014: Highlights
For the fifth anniversary of its Bridge Project, Hope Mohr Dance, in association with the Joe Goode Annex, presented Have We Come A Long Way, Baby?, a program dedicated to the West Coast post-modern dance lineage. In addition to performances, programming included this panel discussion on the relationship of dance history to contemporary work moderated by Stanford University dance historian Dr. Janice Ross in conversation with Anna Halprin, Simone Forti, and Hope Mohr. Sept. 27, 2014 at the Joe Goode Annex, San Francisco.
“[A] phenomenal celebration of West Coast post-modern dance, bringing together four powerhouse choreographers in a single program.” -- Dance critic Heather Desaulniers For the fifth anniversary of its Bridge Project, Hope Mohr Dance, in association with the Joe Goode Annex, presented "Have We Come A Long Way, Baby?," a program dedicated to the West Coast post-modern dance lineage. Anna Halprin, the matriarch of post-modernism, performed The Courtesan and the Crone (1999), an acclaimed solo addressing the aging body in motion. Simone Forti, who studied with Halprin before joining the Judson Dance Theater in New York, performed News Animations, an improvisational performance in which personal experiences interweave with the flickering, fluid visions of the world brought to us by the news media to create a bold mosaic of our shared concerns. Mohr, who performed in the companies of three members of the Judson Dance Theater (Trisha Brown, Lucinda Childs, and Douglas Dunn), performed Carnation, Lucinda Childs’ seminal 1964 solo examining the performance of gender through the use of simplicity, stillness, humor and task. Finally, Mohr presented s(oft is)hard, a new solo for Peiling Kao. In addition to performances, programming included a workshop with Simone Forti and panel discussions on artistic lineage and curatorial thinking.
Bridge Project 2014: Post-show Discussion, Stanford University dance historian Dr. Janice Ross in conversation with Anna Halprin, Simone Forti, and Hope Mohr.